True Grit

Remakes are not new. Hollywood has been raiding their vaults for tried-and-proven scripts for the better part of a century now. While some recent remakes have been questionable, Joel and Ethan Coen's take on True Grit is a shining example of what can happen when contemporary directors tackle a classic story. Based on the 1968 Charles Portis novel, this isn't a complex narrative. It's about Mattie Ross, a young girl seeking justice for her murdered father. In this role, Hailee Steinfeld is a true standout, holding her own against her veteran co-stars, effortlessly maneuvering through several snappy, intricate sequences of dialogue. Equally impressive is Jeff Bridges' interpretation of Rooster Cogburn, the role made famous by none other than John Wayne in the original 1969 film and the 1975 sequel. This is one of those larger-than-life characters, but Bridges shows no fear, depicting the one-eyed, world-weary marshal with a sense of grounded bravado and pragmatic humanity. Matt Damon plays the role of LaBoeuf, a Texas Ranger hunting the same man who killed Mattie's father. Together, the trio trek deep into Choctaw territory in their attempt to track down the murderous Tom Chaney, played by Josh Brolin. In classic Coen fashion, the script sparks with quick wit punctuated by moments of abrupt, brutal violence. So even if you're familiar with the original novel or John Wayne film, True Grit is still a story well-worth revisiting.

TRON: Legacy

When TRON was released in 1982, I didn't really get it. While the visuals were intriguing, the story just didn't hold my attention the same way the awesome arcade game did. But looking back, the first TRON really was ahead of its time, predicting the rise of an open system not unlike the internet we all use today. By the end of the movie, the Master Control Program (MCP) was defeated and the future of the grid looked promising. But TRON: Legacy has a more pessimistic view of technology, showing how good intentions can go awry. In 1989, Kevin Flynn, creator of the grid, was trapped inside the TRON world, betrayed by his own creation, Clu. Fast forward to the present day, Flynn's now grown son Sam also gets trapped in the grid, meeting his father after more than 20 years. Reunited, father and son must find a way to stop Clu and escape the system. While the stage is set of a dramatic adventure, the movie doesn't quite play out like that. There's a lot of back story to cover, most of which is accomplished through flashback sequences. While this is necessary to fill-out the story, it really slows the pacing of the film. However, there are still plenty of great action sequences, my favorite being the light cycle battle at the beginning. But even the action sequences feel a bit long and tedious as the film approaches and surpasses the two hour mark. That isn't to say this is a boring movie. Fans of the original will love diving into the deep lore of the grid. But those with shorter attention spans will probably walk out of the theater yawning, despite the impressive production values. As a casual fan of the original, I enjoyed the movie. But it wasn't the epic I hoped for.

Harry Potter and the Deathly Hallows: Part 1

The Harry Potter franchise is perhaps the finest example of serial story telling in film history. Really, can you think of anything else that comes close? This is the seventh film and there's still one left to go. While the earlier films were somewhat light and formulaic, director David Yates has done a masterful job of gradually shifting the tone since Order of the Phoenix. The bleak tone established at the end of Half-Blood Prince carries over immediately to Deathly Hollows as Harry and his friends are fugitives on the run from the usual dark forces. This is a welcome change-up from previous installments, though I sort of miss Hogwarts. One of the strongest sequences has Harry, Ron, and Hermione sneaking into the corrupt Ministry of Magic while donning some crafty disguises. The scene has all the pacing of a tense espionage film. Other parts feel more like a road movie, but without a car. Harry and friends are truly outcasts and spend most of their time in the wilderness, seeking out Voldemort's Horcruxes. Apparently these magical items must be destroyed to defeat he who must not be named. But despite the destruction of one Horcrux, the dark lord appears to be just as powerful as ever, as revealed in the final scene. For the most part, this film is a setup for the final confrontation between good and evil. But at no point does it feel like filler before the main event. There's a lot going on here, particularly when it comes to the development of the core trio the series has been following all these years. I've never read the books and have avoided spoilers as much as possible, so I really have no clue how this all will end. Looks like I'll have to wait a few more months.

Let Me In

Count me as one of the skeptics who thought this remake was totally unnecessary. Now that I've seen Let Me In, I still feel the same way...for the most part. Let the Right One In was one of the most original takes on the vampire genre ever, offering a nice break from the innocuous territory tread by the tween-friendly Twilight series. Like most foreign films, Let the Right One In never quite gained the mainstream traction or exposure it deserved upon its initial release. Instead, it was one of those word-of-mouth films that most people discovered on video. And judging by the recent box office numbers, Let Me In might follow the same pattern. As American remakes go, this one is about as good as it gets. It remains extremely faithful to the original, despite taking place in 1983 Los Alamos, New Mexico instead of Sweden. Director Matt Reeves nails the tone and avoids any major deviations from the original's story. Chloe Moretz (from Kick-Ass) is good as Abby, the mysterious girl who moves into an apartment complex. But Kodi Smit-McPhee (from The Road) is even better as Owen, a troubled 12-year-old who eventually befriends Abby. Little by little Owen discovers that Abby isn't quite what she seems. If you've seen the original, you know exactly what to expect from each scene, with only a few minor tangents. But for those who missed out on Let the Right One In or simply can't handle subtitles, Let Me In is a worthy alternative, giving English-speaking audiences no more excuses for familiarizing themselves with this great tale.

Easy A

Judging from the trailers, Easy A looks like another cookie-cutter high school movie. But this isn't some cheap Superbad knock-off. For one, it has a great cast lead by Emma Stone playing the typical socially-invisible teenager. But when false rumors begin to circulate, her social standing changes dramatically. Instead of fighting the rumor mill, she embraces her new role as the campus harlot, even going so far as wearing a scarlet A. Of course, it's all an act, leading to some genuinely awkward, but hilarious encounters. The writing is snappy and delivered with comedic perfection by Stone. I liked Stone in Superbad, The House Bunny, and Zombieland. Here she proves she has the talent to carry a movie on her own. But she has plenty of help from a surprisingly esteemed cast including Stanley Tucci and Patrica Clarkson as her eccentric parents. Thomas Haden Church is a laid-back English teacher married to a high-strung guidance counselor played by Lisa Kudrow. Malcolm McDowell even gets some decent screen time as the school's principal. Then there's a small and somewhat underutilized Fred Armisen as a local pastor. Altogether it's a solid movie filled with rich comedic performances. And if you grew up on John Hughes movies during the 80s, you'll certainly appreciate the way this film pays homage to those classics.

Salt

Salt appears to be an attempt to launch a new Bourne-like franchise starring Angelina Jolie as a spy with a mysterious past. But to call this film a Bourne knock-off isn't completely fair. Salt does have a lot going for it, including a strong cast lead by Jolie and Liev Schreiber. If you've seen the trailer, you already know the premise. Jolie's Evelyn Salt is a CIA operative accused of being a Russian double agent tasked with killing the Russian president. But just when you think this is a simple Fugitive-like setup, the film takes some unexpected turns. At times I admit I wasn't quite sure of Salt's true allegiances. But the movie doesn't give you a lot of time to think. This is a frantically paced action movie with plenty of chase sequences, fight scenes, and gun battles. As she's proven over and over, Jolie is a natural action star making even the more preposterous setups feel credible. But she also has the acting chops to give the character an emotional depth and sense of vulnerability. There's a turning point in the film where Salt's humanity comes bubbling to the surface in a deliciously brutal sequence of calm rage. At this point all bets are off. You never quite know what she's going to do next. It's this unpredictability which is the film's greatest strength. Plus, you can't go wrong with the near-perfect pacing. While this may not be the most memorable spy movie you'll ever see, it certainly is entertaining. After all, isn't that why we go to movies in the first place?

Inception

Have you ever woken up from a dream with an unshakable idea? If so, Christopher Nolan's Inception will give you plenty to think about. Of all the movies releasing this summer this is the only one that I felt any sense of excitement about. Like everyone else, I had no clue what the film was really about, but the trippy visuals in the trailers and Nolan's track record for constructing complex narratives were enough to pique my interest. At it's core, Inception is a heist movie. It's about a group of criminals, led by Leonardo DiCaprio's Cobb, who enter people's dreams to steal information. But in their latest job, they must implant an idea in their target's head, something referred to as inception. But like any good heist movie, things don't exactly go according to plan. Cobb's own psychological turmoil introduces several obstacles to the dream scape as the group dives through multiple layers of subconsciousness. The dreams within dreams concept is handled extremely well producing at least three simultaneous narratives, all featuring the same characters attempting to accomplish some sort of goal within a finite time frame. Simply keeping up with what's going on in each dream layer is somewhat exhausting, but it's also completely engaging. I think it's safe to say my mind hasn't had this kind of a work-out since Memento. And like Memento, I think I'll need to see Inception a few more times before I get a good idea of what's really going on. But I do have a theory...